By Jean-Paul Sartre
A thought of historical past, an research of sophistication fight and a philosophy of motion, this paintings is an highbrow masterpiece of the 20 th century, republished in volumes and brought by means of Fredric Jameson. on the peak of the Algerian conflict, Jean-Paul Sartre launched into a basic reappraisal of his philosophical and political notion. the end result used to be the Critique of Dialectical Reason, an highbrow masterpiece of the 20th century, now republished with an important unique creation via Fredric Jameson.
the following, Sartre all started a brand new concept of historical past that he believed used to be helpful for postwar Marxism. His significant situation was once the constitution of sophistication fight and the destiny of the mass activities of renowned rebel, from the French Revolution on the finish of the eighteenth century to the Russian and chinese language revolutions within the 20th.
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Extra resources for Critique of Dialectical Reason, Volume 2
B ut we already know that thi s duel i s the pre sent incarnation of a certain kind of regulated v iolence called box i ng . Now the ensemble of rules and technical i mperativ e s constituting th i s ' art ' deriv e s its ori g i n from a s y s tematic and continuous perfecting of the most direct and naked v iolence : that of unarmed men making them se lves into their own weapon s of combat. All soc ial g roup s known to us today are armed however rudimentary the i r technique may be . B u t in each the possibility remai n s , for indi v i duals pitted against one another b y anger, to return to a mode of combat which seems the original struggle , although thi s cannot be proved actual l y to be the fi rst confrontation between indi v idual s located in a field of scarcity .
Thus each fi ght i s al l of box ing . It may be pre sent total l y and pos i ti v ely , as when the boxers are champions and dev ote all the ir feroc ity to ' defeating on e another. Or el se the total i z ation i s effected negati v e l y : the spectators gauge the i nadequacy of the fi ghters because , in their o p eration s , far less tran scend that theoretical and they do not even rea lize p ractical experience we have termed the art of boxing. B ut thi s does not mean that box i ng , as an art, as the 'noble sport ' , doe s not hav e a presen t rea lity , in the hall and i n the rin g .
Conc rete by indi v i du al s div ided by the ir i nterests but different i n the i r re al ity v irt ue of the ir physiques , the ir characters and thei r pasts . In other words � i f box i n g does not p i t m a s s p roduce d robots agai nst one an oth er an d ' the be st m a n ' has to win in th i s h u m an due l . the sport v i a the mediation of req u ires i t to be a man who tri umphs the org ani zers an d par t i c i p a n t s over a n o t h e r m an by v i rt u e of h i s hu m a n q u a l i t i e s , i .